Wednesday, December 17, 2008

Monday, December 15, 2008

The images from this project are getting close to done, so I thought I'd better post some before everyone logged off for the holidays. Here are some, but more to come....they are all so far away by design that you may want to click them to see'em big. Read here and here about the process. Post production on this by Laura Johnston here in SF.

Friday, December 12, 2008

Over the past 9 days my inner ear was messed up: things seemed one sided, my balance seemed off and conversations were only partially heard...I never heard the whole thing and had to make up the rest. It felt like a break from things, a way to work only 1/2 time...only half the input was coming in.

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My son got some magic markers and made a maze last night. Right then it all made sense.

Tuesday, December 9, 2008

Nice looking spread above in Outside Magazine this month. Not a typical shot that I would do....it is always hard for me when the subject won't stand still. Thankfully we have autofocus, post production, and 1600 everything. Couple more of the out takes from the Jon Olsson shoot below as well...click on these things to see them big.

Sunday, December 7, 2008

Juliana Beasley, author of Lapdanceris offering prints from her current project "Last Stop: Rockaway Park". Get some killer prints for yourself and your collector friends HERE.

Jonathan Saunders drops the emo bomb and publishes Stories # 3, a touchable version of stories excerpted from his blog "I Like To Tell Stories" just in time for the holidays. Saunders' art gives new meaning to the term "Personal Work". Spend your money wisely and try not to blush: it looks like this issue is packed with the best of the best of his creations. Buy it for ten bucks HERE.

Hilarious, mind-blowing and weirdly inspirational, Sex Machines lifts the garage door on a secret world of suburban lust. If Popular Mechanics had done an Alfred Kinsey issue, it might have looked like this. Destined to be a classic.— Jerry Stahl, author of Permanent Midnight.Hardcover editions signed by the author, $25 + s&h. Drop an email to tim@timothyarchibald.com and order it direct.

Wednesday, December 3, 2008

Working with the retoucher on the kids and cars images and I realized I never really provided her with the reference points needed to get into the groove of the palette of this project. Shannon Amos defined it with the clothing...and the cars had their own qualities of course. I dug up a bunch of things to use as reference points and they looked kinda curious all collected here, so I thought I'd share. I'm still looking for the dead on 1970's red though...if any one has it, send it over, please.

Tuesday, December 2, 2008

Sunday, November 30, 2008

The Thanksgiving extended weekend is always a hard one, and this year was nothing different: it gets dark early, kinda looks like nuclear winter outside, no school for the kids or work to hide from. This year my wife is sick and I feel like I just am absorbing the children. Not enjoying them. Not sharing time with them. Just absorbing their energy , keeping them out of the house and counting down the hours until we can shut them down for the night. A bright spot on Saturday when we get word from our babysitter May Garson. She can take the kids, we can escape and try to relate and solve the problems of contemporary everything. A hike in Northern California when the sun is low and it is still warm outside can help you see so many things clearly. Revelations! They came! Gotta write this stuff down so we remember in the morning!mAfter bidding goodbye to the babysitter, I saw that she left these two drawings of our kids taped to the wall. Her interpretation of Eli ( subject of Echolilia ) and Wilson were so right on I didn't know what to say. She grabbed a design on Eli's shirt and allowed it to be a metaphor for his inner state and Wilson's colorful imp-ish qualities are captured perfectly.mEnjoy.

Tuesday, November 25, 2008

Popular blogger and accomplished photographer Andrew Hetherington of Whats The Jackanoryfame was headed west. He summoned me via email for a meeting. The dates, times and locations, neutral territory of course, were worked out before hand.

Here before me on the sunny sidewalk of Davis, California is The Jackanory. His elfin presence is offset by bright eyes and a polite and formal manner. He seems cleaner and friendlier than the character on his blog. This is the man who can photograph bloody noses, black eyes, celebrities and politicians and make them all seem human and real. The stories of openings and partying that appear on his blog have faded. I realize this guy is a photographer first and foremost. The Truman Capote-esque, toast of the town persona he has created is really a tool to help him make photographs, meet subjects and deliver the goods on assignments.

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What is the word from NYC, the photography capital of the free world? Not good. Andrew seems to be happy and optimistic, but obviously the layoffs and budget cuts in the industry are on everyone's mind these days. Layoffs at Time Inc, budget cuts at Conde Nast, magazines closing shop. It'd be nice to avoid this stuff but it is present...and all the more real for NYers than us out here in the west. Myself? I'm in denial. Can we talk about gossip or something? Isn't anyone having an affair or something? I try to see if they want to take a walk...get some sunshine amidst the darkness. His assistant Andrew Dolgin is sitting there, taking it all in. Can I slit my wrist with the butter knife? I can't imagine what is on his mind. I inquire. He responds:

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I don't really care about the economy. What I do care about is my photography growing and advancing. That's all I'm really concerned with right now. It's all I can do anything about.

Thursday, November 20, 2008

Wednesday, November 19, 2008

Bill Silveira lives and works in a place called "Automania". He seems to own an entire city block in Oakland in which he has cars, art, props, trailers...and lots of beautiful natural light. What more could we want for our shoot? The crew, above: Shaun Fenn, Veronica Sjoen, Jamie Thomas, Bill Silviera, Shannon Amos and Rachel Styer taking the snapshots.

Monday, November 17, 2008

I had been putting together a shoot for the past month that somehow involved children and automobiles. I didn't know what I really wanted to say, but I liked the juxtaposition of children...not old enough to drive, with large, epic, gas guzzling cars of an earlier era. I liked the sculptural qualities of the cars...I liked them as big objects that had their own personalities and I wanted them isolated on white. And the kids...? Well...I have been into photographing my 6 year old son, and I thought it would be neat to try to tap into the kid brain again...but packaged as a commercial photograph.

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Shannon Amos and Veronica Sjoen are the stylists that I use as often as I can on all of these productions. Shannon calls me a few days before the shoot sounding like she just had a revelation: I realize what our reference point should be for these shots. It is the work of Robert Bechtle. The cars, the families, the body language and the clothing. His work is where we should be steering this project towards. I want to dress the kids in our pictures like the kids in his paintings.

I hadn't seen Bechtles work in a while...it didn't trigger and immediate image in my head. A quick google search delivers the painting of the station wagon "Alameda Gran Torino, 1974 " and it all comes back. I think his work was stuck in my sub-concious...and this was it's commercialized cousin bubbling to the surface.

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Shannon hunted for the props and wardrobe of a Bechtle painting. I hunted down the cars and the kids and we shot the pictures on Saturday. The images here are Bechtles paintings. I'll share my images in the days ahead.

Friday, November 14, 2008

American Photography 24, the annual juried anthology had their party last night. Nah...I couldn't go...I had to take my kids out to a picnic in the redwoods of Marin while my wife went to Thursday night meditation class. Good bud Jonathan Saunders snapped an i phone shot while in attendance and sent it to me in real time...so as I'm in the redwoods I get the shot and it's almost like I am there! Well...not exactly. Blue Nailpolish, 2007, an early image from Echolilia made it into the book and up on the walls of the show. See all the work from American Photography 24 HERE.

Tuesday, November 11, 2008

It had been a grim week: there was the sugar high of the election followed by the harsh realities of the terrible economy and massive lay offs in the publishing industry. I'm escapist by nature, but every time I picked up the phone some photographer friend had something terrible to report. The mix of art and commerce that exists with commercial photography can so often leave a bad taste in one's mouth. Sometimes you wish you never tried to combine the two. But you did try and they behaved like oil and water: they are mixed together, they stand on their own, but you can never separate them.

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Friday night the domestic gods smiled and let me escape to Object Agency, the Southern Exposure open house event put on by artists-in-residence Kamau Patton and Suzy Poling. Poling is a bud and she warned me this evening would be something...um...unprecedented: Archibald, please try to be there and please have your camera...this is going to be a freak out.

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What did transpire was the antidote to the week's darkness: there is nothing as liberating as witnessing artists explore before your eyes and deliver the goods live. It is the art for art's sake, the stuff that is far away from commercial concerns, that can clean your slate and leave you inspired. One could sit there in the audience and take it all in, transported to a place where the previously mentioned oil and water were never combined.

all images from Object Agency by Patton and Poling at Southern Exposure, San Francisco, CA

Saturday, November 8, 2008

Of course it's exploitative. Although many believe it to be true, exploiting something, or someone, isn't always a bad thing.- I. N. Galbraith, 11/8/08Got this interesting note, above, in response to Q + A With Myself Again and it really made me think. No conclusions, but I liked where it was going. Photographers always seem to be ready to defend themselves against the accusation of exploitation. What if it isn't really such a bad thing? What if an artist embraces it?

You'll be graded on participation. Any thoughts? Who is embracing it these days? Roger Ballen? Shelby Lee Adams? Les Krims? Witkin? What does it really mean to exploit something...and is it always bad?